FACTS which contradict what is taught in the universities and which even run counter to the assumptions made by critics of misandry.

Tuesday, July 10, 2012

Unknown History of Fatherhood

What you now have before you is forbidden knowledge.

The collection of images you will see below – taken from popular
fictional stories of the past – tell a bigger story: the story of how, before
the onset of “cultural Marxism,” American culture used to view fathers and
fatherhood. By the time you finish looking at these pictures and the
descriptions of the novels, plays, movies – and one song – contradict what you
have been taught about fatherhood by educators, governments and the entertainment
industry.

All the stories featured her involve so-called “child
custody disputes” – and more specifically these narratives show the struggles of fathers
whose children have been torn from them by the child’s mother.

The picture shows Mike Barney, a man in shock immediately
after discovering that his wife has taken his little daughter, Katie,
and disappeared with another man. The novel tells two stories woven
together. One is that of the labor movement in the 1880s, which is where
the title “Wreckers” comes from. The other is the odyssean quest of the
father to find his kidnapped child, a journey in which he suffers a
nervous breakdown from which he must recover in order to achieve his
goal. Despite the dour subject matter the story is a comic romp, full of
picaresque episodes.

Here is an excerpt from an 1886 review:
“Narrative of an honest, high-minded Irishman of humble station who is
deserted by his unworthy wife. She takes their daughter with her, and
after this hero, Mike Barney by name, learns that his wife is drowned at
sea, he devotes himself to finding his child. The disappointments of
this search unsettle his reason. When at last he does find her, he
quixotically determines not to claim her from the wealthy surroundings
in which she has at last found herself. But eventually she is restored
to her unselfish father, and the end is peaceful.” [from long review:
The Literary World, Jul. 24, 1886, p. 252]

1905 – Charles Klein, The Music Master – play

This play was the greatest commercial success of early 20th
century American theatre. It remained on the stage constantly from 1905 and
1919 (with the exception in 1908). There were few Americans who had never heard
of the play and its narrative.

Here is what a Washington Post reviewer had to say in 1907:
“Of all plays ever produced in New York, this one seems to have the distinction
of the longest legitimate and profitable run. It is stated that during the
three seasons of its New York engagement there has never been an empty seat at
any of the performances. Other plays have had long runs, but none was ever of
the duration of Warfield’s “Music Master.” No other attraction has ever played
to continuous ‘capacity business’ for even one solid season, to say nothing of
three.” The play’s spectacular success continued for years after this review
was published.

The play’s story is that of a German composer who, on the
eve of his greatest success, discovers that his wife has disappeared, taking
the little daughter he adores. The celebrated and financially successful Anton
von Barwig, leaves his beloved Liepzig, the famous world capital of music and
follows unproductive leads in his search for his child and wayward wife. He is
reduced to poverty, but this does not affect his kindly, gentlemanly and
good-humored and selflessly generous demeanor. The action of the play takes
place during the depths of his poverty and sadness, when he accidentally
discovers that the young woman who had contact him to arrange violin lessons
for a poor boy is the daughter he has devoted his life to finding.

1909 – Charles Klein, The
Music Master – novel

Anton von Barwig is shown at the moment when he realizes he is in the presence
of his daughter. In his hands is her doll with the missing eye that she had
left behind when her mother whisked her away two decades earlier.

The novelized version of the story gives the back story of events that occurred
before the action of the play. The book was issued to coincide with the revival
of the play which toured nationally.

1909 – Helen Reimensnyder Martin, The Parasite: A Novel (published in syndicated form in 1909, as a book in 1913)

The
illustration shows the man who found the parentally kidnapped boy,
whose mother died in a car crash during her getaway, returning the child
to the home of the father.

A prominent young judge, whose wife
abruptly divorced him on baseless suspicions – after having refused all
communication on the subject – is devoted to his young, but unruly, son.
He discovers that his sister’s impoverished, but well-born house guest,
a pleasant young but un-alluring woman, has won her son’s devotion (and
obedience) and is clearly devoted to him. He proposed a deal with the
young woman, marry him on a “strictly business” basis, and receive the
security she desires, giving him a surrogate mother for the son he
loves.

They marry, yet the ex-wife who has been begging for her son
to be sent to her, permanently. The ex-wife benefits by two schemers who
hatch a plot to assist the mother in snatching the boy, but the effort
backfires. The getaway results in an automobile wreck that leaves the
mother dead. The drama leads the married couple to deeper feelings and
father, son and stepmother live happily ever after. The 1925 film
version departs from this plot significantly. [R St E]

1915 – Mrs. Humphrey Ward, Daphne, or Marriage A La Mode – novel

Excerpt from review: “Daphne becomes a resident of Sioux Falls and
there, with the aid of her money, secures a divorce which gives her
custody of the child in spite of the struggles of the husband. The
woman has no just grounds for such drastic action and only the
ill-framed divorce laws make it possible. She is free, according to the
laws of the United States, but still a wife in the eyes of England The
husband, wild with paternal love, tries unsuccessfully to kidnap his
daughter and spends the little money he has on the efforts. He becomes a
drunkard, loses his moral grip and, after returning to England, gives
his wife just grounds for divorce in English courts. The child dies and
he sinks still lower, becoming a moral weakling and the victim of
phihisis.” [“Mrs. Humphrey Ward’s New Work – A Discussion of Divorce
Laws – “Marriage a la Mode” a Novel Which Sets Forth the Evil of Hasty
Marriage and Hasty Repentance,” Springfield Republican (Mass), May 30,
1909, p. 27]

1915 – Eleanor M. Ingram, A Man’s Hearth – novel

The picture shows the father just before his wife divorces
him and denies him access to his boy.

Adriance, son of a wealthy industrialist, marries a gold-digger, Lucille, who
disappointed in her limited access to the family fortune, divorces her younger husband,
having gained the attention of bigger game, her father-in-law who helps her
gain her divorce and the custody of the young couple’s baby boy. Adriance is
driven mad by the loss of his child, though she has little interest in the
baby. Stopping furtively by a park to watch his boy play under the guidance of
his governess he witnesses the nurse abuse the child. The father kidnaps him
and goes into hiding.

1916 – The Music Master – play revival and national tour
(1916-1918)

In 1916 The Music Master was revived for Broadway and a
national tour. A 1917 review noted that “It has been breaking all records of
the present season at the Knickerbocker theatre in New York.” Here is an
excerpt from a 1917 review of the play’s opening in Washington, D.C.:

“The seasons since 1903 have not revealed a more appealing
play than “The Music Master,” revived at the Belasco Theater this week by David
Warfield and a portion of the original cast. There have been dramas of more
pronounced lachrymose tendencies that have had an immediate and powerful effect
upon the tear ducts – “Madam X,” for example – and there have been melodramas
that have produced more startlingly vivid pictures of the desolation wrought by
treachery – “On Trial” suggests itself – but there has been no recent play that
has so effectively combined the familiar human qualities encountered in normal,
everyday life as the late Charles Klein’s three-act study of the old musician
who sought vengeance for sixteen years only to forgo it through love of his
daughter when the hour of judgment came. That the charm of this simple story of
a father’s pathetic loneliness and supreme love for a daughter who identity was
disclosed by the merest coincidence after years of search, holds as firm a grip
upon the hearts of Washingtonians as when first unfolded in the Capital was
completely demonstrated by the enthusiastic cordiality of last night's audience.
It was with the utmost difficulty that Mr. Warfield cheated those present out
of a curtain speech after innumerable curtain calls at the conclusion of the second
act.” [“Belasco – David Warfield in ‘The Music Master.’” The Washington Post
(D.C.), Apr. 17, 1917, p. 9]

1921 – First Born
– play, movie

“One of the first Chinese dramas ever produced upon the
silver sheet is “The First Born,” a magnificently staged super-special,
starring Sessue Hayakawa, the famous Oriental actor, which comes to the Forsyth
on Monday for a three day’s engagement. Replete with episodes of both drama and
pathos, the picture is the best vehicle in which the famous Japanese actor has
ever appeared. All of the mystery of the Far East, and the alluring interest of
San Francisco’s Chinatown, as it existed before the destructive earthquake, is
encompassed in the photo-play in a series of gripping incidents. For the detail
and perfection of setting, this picture has never been surpassed.

Chan Wang (Hayakawa) was the bravest and most popular of all
the boatmen of the Hoang-Ho. Sturdy with his arm as he piloted his sampan from
one fishing village to an other along the great “River of Sorrows.” Strong was
his heart in his love for Loey Tsing, daughter and fairest flower of a fisher.
But avarice has crept into the heart of Loey Tsing’s father, and one day, when
a slave junk cleft the waters of the Hoang-Ho, there came an emissary of Man
Low Yek, who lived in the Chinatown of San Francisco, and who wished a young
and comely woman. Loey Tsing’s father heard the clink of gold coins and he sold
Loey Tsing. She was carried off into slavery and Chan Wang was left on the
Houng-Ho.

When the opportunity arrived Chan Wang left the Houng-Ho. To
seek his lost Loey Tsing. To San Francisco he went, but his immediate efforts
were not crowned with success. He net and married Chan Lee, and there was born
to them Chan Toy – the first born of Chan Wang. And Chan Wang loved him with
all his heart. In the course of time, Man Low Yet coveted the wife of Chan
Wang. Chan Wang found Loey Wang and the old love flamed again. Man Low Yek
discovered that Loey Tsing loved Chan Wang. He managed to get Chan Lee and Chan
Toy, the first born, in his clutches, and caused the death of both.

Chan Wang avenged the death of Chan Lee and Chan Toy, the
first born. When Man Low Yek was no more, Chan Wauk took Loey Tsing back to the
Hoang-Ho, where he again told her of his love, and they were married.” [“Chinese
Photo Drama Forsyth Attraction – Sessue Hayakawa, Oriental Actor, in Story of
the Far East.” Atlanta Constitution (Ga.), Apr. 3, 1921]

1927 – Charles Klein, The
Music Master – movie

Anton Von Barwig is shown at the moment he realizes that the
wife who had run off with his best friend had furtively returned in order to
kidnap his beloved daughter.

1928 – “Sonny Boy” – song

Al Jolson’s hit “Sonny Boy” was the first record ever to
sell a million copies. Following the success of his song and film, Jolson
quickly made another film with Davey Lee playing the role of his son, using the
song’s title as the new film’s. The record made Jolson the most popular
entertainer in the world.

1928 – The Singing Fool – Movie starring Al Jolson and Davey
Lee

$5 million box-office receipts in 18 months, making this the most commercially
successful film until the 1939 release of Gone With the Wind.

“The story concerns the life of a “singing fool.” Al Stone, who starts his
career as a waiter in a honky-tonk and is rapidly elevated because of his
ability as a writer and singer of songs. As the adoring father of a little son.
Al finds joy and inspiration, but Molly, his wife, is unfaithful and leaves
him, taking little “Sonny Boy” with her. Broken hearted, Al gives up his work
and sinks almost to the gutter. From this condition he is rescued by friends of
his waiter days, including Grace, a cigarette girl. Through her loyalty and for
the sake of his little boy, he rehabilitates himself and soon reaches new
heights as a Broadway star. When he receives word that his son is ill in a
hospital and rushes to him, to arrive only in time to sing him to his last sleep,
there is created a moment which can not but tug at the heartstrings of any
audience. [Excerpt from: “The Singing Fool,” movie review, The Washington Post
(D.C.), Oct. 8, 1928, p. 16]

1929 – Sonny Boy –
Movie starring Al Jolson and Davey Lee

The
image above shows a promotional pin, probably given out to children. The Singing
Fool, because it involves the death of a child was inappropriate for children,
but the new movie was a family film with a happy ending.

“The
plot presents a mother sending for her sister to carry away her son and hide
him because her husband threatened divorce. The husband’s lawyer, Horton, is
about to board a train for his vacation, but he is called back because Sonny
Boy had disappeared. The sister and Sonny Boy had hidden in the lawyer’s
apartment thinking that they would be safe there for a few days, while the
lawyer was away. The lawyer’s father and mother visit him. The sister, when
found by them is forced to tell them that she is their son’s wife.
Complications from this point thicken rapidly, especially after the lawyer
arrives. However the rest of the picture continues in a merry style, reaching a
great climax.” [Excerpt from: (“Sonny Boy,” cinema review), “Davey Lee Makes
Big Hit In ‘Sonny Boy’ At The Majestic,” The Sheboygen Press (Wi.), Apr. 17,
1929, p. 21]

1935 – O’Shaughnessy’s
Boy – movie

The story of a man’s search for the son “Stubby,” kidnapped by his
wife, he loves with all his heart. Wind’s wife disappears with the child after
being influenced by her sister, Martha.

“When Windy realizes that his son is missing and that all his money has
been taken, he single-mindedly devotes himself to finding Stubby. Desperate for
extra money to pay for a private investigator to find his son, Windy agrees to
perform a dangerous fire trick with a tiger. While in the cage with the tiger,
however, Windy is distracted by thoughts of his son, and when the tiger attacks
him, he loses his arm. After quitting the circus to search for his son, Windy
becomes depressed and spends his days wandering through the streets in a daze.
“ [American Film Institute]

Shortly after the parental kidnapping, Cora, the mother
dies. Aunt Martha indoctrinates the boy with hatred for his father. The film
represents an early example of a dramatization of what until recent decades was
know to lawyers and judges as “poisoning the mind of the child,” and more
recently, “parental alienation.” When Windy finds his son, after years of
searching, he must struggle against the Stubby’s resistance, which, eventually,
he is able to overcome. [R. St. E.]

1935 – O’Shaughnessy’s
Boy – children’s book by Lebbeus, Mitchell

Children’s novelization of the movie, illustrated with 30
photos from the film and published in a “Big Little Book” format.

***

This little presentation provides just a little glimpse of the
true history that has been erased from our memory by the
university-based authors of the what this editor has labeled “the
orthodox history of the relations of the sexes,” or, in shorthand, “the
fake history.”